Stephen Kampa's poems are witty and restless in their pursuit of
an intelligent modern faith. They range from a four-line satire of
office inspirational posters to a lengthy meditation on the silence
of God. The poems also revel in the prosodic possibilities of
English's high and low registers: a twenty-one line homage to Lord
Byron that turns on three rhymes (one of which is "eisegesis"); a
sestina whose end words include "sentimental," "Marseilles," and
"Martian;" sapphics on the death of Ray Charles; and intricately
modulated stanzas on the 1931 Spanish-language movie version of
"Dracula." Despite the metaphysical seriousness, there is always an
undercurrent of stylistic levity -- a panoply of puns, comic
rhymes, and loving misquotations of canonical literature -- that
suggests comedy and tragedy are inextricably bound in human
experience.
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